The Invisible Comes to Us is a haunting, modern take on Appalachian and Irish folk songs. Beautiful close-harmonies, banjos and acoustic guitars are juxtaposed with droning atmospheres of woodwinds, Moog bass, pump organ, and euphonium. Guest musicians include Jim White on drums and Susan Alcorn on slide guitar.
Style: Psych-Folk, Drone-Folk, Free-Folk
Vibe: hallucinogenic, nocturnal, nightmarish, intimate, psychedelic, loner
Musical Attributes: acoustic, droney, raw, studio-as-an-instrument, loops
Released in 2018 on Sublime Frequencies Format: LP
Released in 2016 on Blue Chopsticks/Drag City Recorded November, 2014 – July, 2015 Format: LP
Released in 1970 on Elektra Records Format: LP
Released in 2019 on Thrill Jockey Records Format: LP Limited pink vinyl
Originally Released in 2004 on FatCat Records 2011 Reissue on My Animal Home Format: LPx2
Released in 1994 by Drag City Format: 12″ EP, 45rpm
Originally released on K records in 2003 Recorded between 2001-2002 2013 Reissue on PW Elverum & Sun Format: LP
Released in 1970 on Straight Records Format: LP
These impassioned, and often mournful, renditions of klezmer folk songs (both traditional and original) are infused with elements of free jazz, drone, and chamber music to create something both rooted and urgently modern (Even 15 years after its release). The mostly acoustic band features violinist Jessica Moss (also of Silver Mt. Zion) and upright bassist Thierry Amar (asmz, GY!BE) in addition to singer/multi-instrumentalist Scott Levine Gilmore and Clarinetist/Guitarist Gabe Levine.
Originally released in 2005 on P.W. Elverum & Sun 2015 Pressing, re-mixed and re-designed Format: LP, white vinyl
Style: Avant-Folk, Free Folk, Psych Folk
Vibe: Forest, Witchy, Nocturnal, Ritualistic, Earthy, Raw, Nature
Musical Attributes: Dissonant, Droney, Lo-Fi
Exuma’s first album is a powerful and ritualistic masterpiece of spiritual folk from the Bahamas. Exuma, the Obeah Man, is a master storyteller and preacher, sharing visions, myths, and prayers. His expressive, soulful voice takes on many tones as he delivers his musical sermons, from smooth to raspy, soft to confident. A group of singers, percussionists, whistlers, and toads join him and his acoustic guitar, making me imagine them all circled around a large fire in communal worship and grateful that they let us listeners in on it.
On experimental musician/author/professor David Grubb’s first album as singer-songwriter, he synthesizes technical bluegrass banjo and fingerstyle acoustic guitar playing with imaginative arrangements, abrupt stylistic shifts, philosophical questioning lyrics, improvisation, drones, and an eclectic cast of musicians, including drummer John McEntire (Tortoise, The Sea and Cake), bassist Josh Abrams (Natural Information Society), and drone violinist Tony Conrad.
Released in 2007 on Eclipse Records Format: LP Includes 12″x24″ insert
Released in 2011 on Blackest Rainbow Format: LPx2, 180g Ltd. to 750 copies
Released in 2002 on Holy Mountain Format: LP
Released in 2015 on Drag City Composed using Ben Chasny’s Hexadic System
Released in 2017 on Domino Records Format: LPx2
Eric Chenaux’s gentle falsetto is the most constant, tangible element on an album characterized by a permanent state of flux. The guitars are warbly and unsteady with their fluctuating tones, volume, and pitch. Yet, despite their experimental nature, they never sound abrasive and, together with some mellow Wurlitzer, create a soft, pillowy environment for Chenaux’s romantic crooning about the nature of love, the moon, and warm nights.